A Quote by Russell Brand

Executive producers don't have to do anything. Nor do any kind of producers. They just sit around on deck chairs watching stuff, and if it gets cold, they leave. Actually I suppose as a producer you've got to be involved in helping out with solving problems.
As a producer, you've got to be involved in helping out with solving problems.
Let me tell you about being executive producer. It is not a job, it's a title. Don't go around asking executive producers what they do because they don't do anything, alright?
I didn't feel comfortable as an executive. I felt comfortable around artists and record producers... and then I found my niche: I gotta find great producers, and I produce them.
I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.
I have a great set of executive producers helping me out. I have a great cast and crew. AMC has been fantastic. I'd say it's everything I was doing before, just eighteen other jobs. I love it.
Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.
It can really vary from movie to movie what the producer's role is and there are all kinds of producers. There are line producers who do a lot of the nuts and bolts work on the set.
I didn't want to just be an analyst for women's basketball and volleyball. I didn't just want to be a sideline reporter. I didn't just want to be a host. I wanted to be someone that my producers or coordinating producers could call on me for any event, any subject matter or any role.
The vast majority of our film producers are independent producers who live hand to mouth trying to get projects made that they love. They are not owners, they're not money people, and in fact, those who just have the money don't always get a producer credit.
I didn't come in as a writer that found producers, I came in under producers. So I've always respected the actual production process and producers in general.
Solving problems—actually solving them, not just claiming you do—solving perceived, urgent problems, is a surefire way to get the world to beat a path to your door.
Prosperity and abundance in a society depend on a certain type of person: the producer. Societies with few producers stagnate and decay, while nations with a large number of producers vibrantly grow-in wealth, freedom, power, influence and the pursuit of happiness.
The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
Unlike so many producers who sit in their offices and operate from there, I take pride in calling myself a creative producer.
As far as I'm concerned, any Aboriginal that gets out there and accepts money that has been put out as a package for this bicentenary is actually accepting blood money. We've still got people with leprosy and we still got tremendous problems. These problems have not been our problems, they're the problems of the European population of Australia.
I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.
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